Overall I’ve enjoyed creating my own brief and working through my structure and continued research into
Here is my outcome for my test booklet, Now that i’ve completed these images to test out the imagery, technique, use of materials, text and layout i can reflect on this and choose what i want to change for my final collections project book. For example, I think the text would work better not on the images themselves. But If i had the text in another place in the book or if i made the images to be inside a pocket I’d be able to create a more interesting layout and make the images themselves stronger by having them stand alone.
From the start of this project I was very excited. I was inspired by the initial briefing as this is the sort of project I’ve always wanted to do.
While playing around with ideas I was thinking of what happens to me personally on a monthly basis as I thought I could really make this project personal as it’s something I haven’t explored as much. An idea that I thought of using was as I dye my hair colourful colours every month and it gradually faded out I could have used that as my colour scheme. But after evaluating it I thought it could limit my artistic outcome with the images.
It then occurred to me to use my personal issues and struggles to express myself creatively. I came up with a project that turned into “what if… A collection of irrational fears”.
After establishing my idea I started to brainstorm what content or ‘fears’ I was going to illustrate. As seen in the above image you can see I wrote down a list throughout the month of my irrational fears/thoughts. I also wanted to include other people’s fears to make my project more relatable to my audience, I set up a anonymous page for people to submit their irrational fears as this could be something very personal which they may not be comfortable publicly sharing.
After I sorted my content out I did some rough sketches in my research book. I wanted to come up with multiple sketches of possible imagery for each fear.
Layout is important; I wanted to make sure that the series tied together and were presented well. I created a portfolio type fold out test booklet and included my individual illustrations of my fears inside which all had the same format: title at top, the fear, the image. I used this as a test run for my images and to experiment with having images on a piece of card rather than a page in a book, as eventually I’d like my book to have images on something that can pop out rather than just flick through.
While researching for my dissertation proposal I found various articles, books, and artists who have furthered my interest and understanding in skin phobias, the abject body and art focusing on these subjects. The work I have documented has inspired me to look further into case studies looking at skin phobias, and to start making links and comparisons between art work representing the issues I’m researching.
“Abject art is used to describe artworks which explore themes that transgress and threaten our sense of cleanliness and propriety particularly referencing the body and bodily functions”
content found on: http://www.tate.org.uk/learn/online-resources/glossary/a/abject-art
The term abjection refers to ‘the state of being cast off’. The abject has been researched and documented by various writers and is described as an:
“complex psychological, philosophical and linguistic concept developed by Julia Kristeva in her 1980 book Powers of Horror. She was partly influenced by the earlier ideas of the French writer, thinker and dissident surrealist, Georges Bataille. Kristeva herself commented: ‘refuse and corpses show me what I permanently thrust aside in order to live’. In practice the abject covers all the bodily functions, or aspects of the body, that are deemed impure or inappropriate for public display or discussion.”
The abject has a strong feminist context, in that female bodily functions in particular are ‘abjected’ by a patriarchal social order. In the 1980s and 1990s many artists became aware of this theory and reflected it in their work. In 1993 the Whitney Museum, New York, staged an exhibition titled Abject Art: Repulsion and Desire in American Art, which gave the term a wider currency in art.
Cindy Sherman is seen as a key contributor to the abject in art, as well as many others including Louise Bourgeois, Helen Chadwick, Paul McCarthy, Gilbert & George, Robert Gober, Carolee Schneemann, Kiki Smith, Sarah Lucas and Jake and Dinos Chapman.
Artist’s Shit 1961
Tin can with paper wrapping with unidentified contents
object: 48 x 65 x 65 mm, 0.1 kg
Purchased 2000© DACS, 2002
Jake Chapman, Dinos Chapman
Exquisite Corpse 2000
Etching on paper
image: 228 x 78 mm
© Jake and Dinos Chapman
Chicken Knickers 1997
Photograph on paper
image: 426 x 426 mm
Purchased 1998© Sarah Lucas
content found on : https://www.sunypress.edu/pdf/61009.pdf